Manny Farber

Manny Farber (1917-2008) was an American film critic, painter, and art professor known for his unconventional writing style and influential perspectives on cinema. His most notable contribution to film criticism was the concept of "termite art" versus "white elephant art," introduced in his landmark 1962 essay "White Elephant Art vs. Termite Art." During his career writing for publications like The New Republic, The Nation, and Artforum, Farber developed a distinctive critical voice that combined detailed visual analysis with an appreciation for B-movies and genre films at a time when such works were often dismissed by mainstream critics. His collected film writings were published in the book "Negative Space" (1971), which has become a significant text in film criticism. Farber maintained a parallel career as an abstract painter and taught art at the University of California, San Diego from 1970 to 1987. His paintings, like his film criticism, were characterized by dense compositions and complex spatial relationships. Beyond his direct contributions, Farber's influence can be seen in subsequent generations of film critics and in the broader cultural reassessment of popular cinema. His work helped establish new frameworks for evaluating films outside traditional hierarchies of artistic merit.

Readers praise Farber's unique analytical approach and dense, challenging writing style in "Negative Space." Many cite his ability to notice visual details others miss and his fresh perspective on B-movies. One reader noted: "He makes you see films in ways you never considered." The main criticism centers on his complex, sometimes impenetrable prose. Multiple readers mention struggling with his run-on sentences and stream-of-consciousness style. A common complaint is needing to re-read passages several times to grasp his meaning. On Goodreads, "Negative Space" has an average rating of 4.2/5 from 287 ratings. Some readers appreciate the book more for its historical significance than its readability, with one noting: "Important but exhausting." Amazon reviews (23 total) average 4.3/5, with readers split between those who embrace his difficult style and those who find it unnecessarily obtuse. Several readers suggest starting with his famous "White Elephant Art vs. Termite Art" essay before tackling his longer works.

Negative Space: Manny Farber on Movies (1971) A collection of film criticism essays covering American movies from the 1940s through the 1960s, introducing Farber's concept of "termite art" versus "white elephant art."

Movies (1971) A compilation of Farber's earlier film reviews from The New Republic, The Nation, and other publications, focusing on both mainstream and avant-garde cinema.

The Modern American Cinema (1967) An examination of post-war American filmmaking through critical essays, with particular attention to directors like Howard Hawks and Samuel Fuller.

Otis Ferguson wrote film criticism for The New Republic in the 1930s with a focus on capturing the direct experience of watching movies. His colloquial style and attention to craftsmanship parallels Farber's approach to analyzing films.

James Agee combined newspaper film criticism with detailed analysis of technical elements and cultural context. His work in The Nation and Time magazine demonstrated similar interests to Farber in B-movies and genre films.

Pauline Kael wrote extensively about American films with emphasis on visual style and directors' techniques. Her criticism challenged conventional views of cinema much like Farber's writings about termite art versus white elephant art.

Andrew Sarris developed the auteur theory in American film criticism and wrote detailed analyses of directors' styles. His work in The Village Voice covered many of the same Hollywood filmmakers Farber championed.

Jonas Mekas wrote about experimental and avant-garde cinema while questioning traditional film aesthetics. His criticism in Film Culture and The Village Voice shared Farber's interest in underground films and non-mainstream cinema.